The Beat

Now thanks to The Beat, you can search hashtags of Instagram photos and be presented with the Google Street View location where that photo was tagged.

Why? Do we really want to see where hipsters are posting their polarized food photos from?

The concept of this is OK, I guess. I just can’t see when people would need this, then again there’s a lot of useless websites on the internet. If the intentions were for a fun quirky site that you visit once a month to show your friends while you’re bored, then they’ve accomplished that!


JR and José Parla – Wrinkles of the City

JR and Jose Parla collaborated and produced 25 portraits of old people. Although, not portraits like you’ve seen them before. ‘Wrinkles of the City’ is a series of portraits captured and printed to a huge scale and then wheat pasted onto the sides of walls and abandoned buildings.


The chosen exhibiting method for these photos is perfect, the dilapidated buildings provide perfect emphasis for the subjects. They are old, wrinkly and may look on their last legs, but they are still standing. Their wrinkles are metaphors for the urban texture and history.

With reference to Banksy, street artist JR has taken it to another level of size and such a longer process than spraying cartoons through a stencil. Where Banksy exhibited his political propaganda through this medium, JR and José Parla presented us with old relics of the city that have still withstood through the vast socio-economic changes.

Each subject captured had a story, detailed in the published book, about how Havana, Cuba, has changed over time. Some images were pasted in random spaces, others in relation to heritage of the city, and others to a certain area the subject was explaining during their interview and portrait with JR.

There will be a documentary film ‘in 2013’ (very definitive of a time..) about the project.

Serge Maes – Ambiguous City

Although this may just look like street photography, Serge Maes is engaging with his environment to gain something from what we would look past. Photographing the little things in life, you may say.

Serge Maes

He stated the images were not to tell a story but more to show the viewer how he perceives the world through his camera.

This is something I need to focus more on, engaging with my surroundings more and becoming more free with the camera. At the moment I am quite reserved and look for objects to create images and spending a significant amount of time producing a photo from this scene. Maes’ approach is aspiring to me, in that I need to let go and capture my surroundings as they are, naturally as we first see them.


There’s only so much you can talk about wanting to do something and photograph more like someone, and then there’s actual production and going out and shooting.


24 HOURS IN is a project to generate collaboration of user generated footage from mobile phones, building around the concept of viewing 24 hours in a city.

The fact it is user generated content draws on a completely new platform of documentaries, usually only viewed from one perspective, the director’s, this is quite a communist approach, whereas the 24 HOURS IN approach is more favourable to democracy and exploring the diverse people around the world.

24 HOURS IN makes strong reference to Dziga Vertov’s innovative Man with a Movie Camera (1929). It was a documentary style but, unlike films at the time used no intertitles, actors, sets or scenarios. In essence trying to capture natural environments, nothing staged like films, and present them in (almost) a non-chronological structure.

This concept, giving the power back to the individuals, is very relative to my current photography research towards Media Project 2 this semester. I’m looking at how certain activities we do are taking responsibility back to ourselves by rebelling against the common practice of following the crowd like sheep. 24 HOURS IN is giving the power back to users who wish to submit to the project and taking responsibility for content they can view, rather than being spoon fed from producers and directors with their narrow vision of a subject.